From: owner-fegmaniax-digest@smoe.org (fegmaniax-digest) To: fegmaniax-digest@smoe.org Subject: fegmaniax-digest V14 #250 Reply-To: fegmaniax@smoe.org Sender: owner-fegmaniax-digest@smoe.org Errors-To: owner-fegmaniax-digest@smoe.org Precedence: bulk fegmaniax-digest Wednesday, October 26 2005 Volume 14 : Number 250 Today's Subjects: ----------------- REAP ["Maximilian Lang" ] Re: Go4 ["Hurricane Jesus" ] Re: Go4 [Eb ] Re: Go4 [Jeff Dwarf ] SPAM subject-line i just misread ["Hurricane Jesus" ] Re: fegmaniax-digest V14 #249 [Michael R Godwin ] Re: fegmaniax-digest V14 #249 [Sebastian Hagedorn ] Re: fegmaniax-digest V14 #249 [Michael R Godwin ] Re: Hitchcock@Dylan Tribute 26/09/05 ["Ashley Norris" ] Everything but good music [Eb ] storefront LP ["noe shalev" ] Re: regional lyrical explication ["Stewart C. Russell" ] Re: storefront LP [Capuchin ] ---------------------------------------------------------------------- Date: Mon, 24 Oct 2005 23:11:35 -0400 From: "Maximilian Lang" Subject: REAP Edmund Bacon. ------------------------------ Date: Mon, 24 Oct 2005 23:18:46 -0700 From: "Hurricane Jesus" Subject: Re: Go4 no such word. did you initially write this review for a different forum, eb? seems like a completely different style than your usual. (not saying it wasn't entertaining -- just that it didn't seem like your voice.) this sentence, in particular, one can imagine being voiced by a newsreel reader. well, you're always welcome to hold on to *my* Hard. KEN "America is a lot like Frank" THE KENSTER ------------------------------ Date: Mon, 24 Oct 2005 23:39:53 -0700 From: Eb Subject: Re: Go4 Hurricane Jesus wrote: > > > did you initially write this review for a different forum, eb? Yes, but Penthouse rejected it. They said it didn't talk about tits enough. Eb PS This is hilarious: http://www.ps260.com/molly/SHINING%20FINAL.mov ------------------------------ Date: Tue, 25 Oct 2005 07:19:56 -0700 (PDT) From: Jeff Dwarf Subject: Re: Go4 Eb wrote: > PS This is hilarious: > http://www.ps260.com/molly/SHINING%20FINAL.mov Yeah, you'd almost think someone else had posted this a month or so ago.... "I'm against picketing, but I don't know how to show it." -- Mitch Hedberg . __________________________________ Start your day with Yahoo! - Make it your home page! http://www.yahoo.com/r/hs ------------------------------ Date: Tue, 25 Oct 2005 09:07:42 -0700 From: "Hurricane Jesus" Subject: SPAM subject-line i just misread "stronger, more powerful climaxes", which i initially read as, "stranger, more powerful climaxes". ------------------------------ Date: Tue, 25 Oct 2005 16:59:57 +0100 (BST) From: Michael R Godwin Subject: Re: fegmaniax-digest V14 #249 On Mon, 24 Oct 2005, fegmaniax-digest wrote: > > fegmaniax-digest Monday, October 24 2005 Volume 14 : Number 249 > > > > > From: James Dignan (grutnessATslingshot.co.nz) > > Subject: Re: A.Word.A.Day--lipogram > > Refer: http://wordsmith.org/words/lipogram.html > > > > My girlfriend Alice and I once tried to write a story which used only > > the ten most commonly used letters of the alphabet (ETAIONSHRD). > > Amazingly, after several attempts, the only style that seemed to work > > was "hard-boiled detective" a la Raymond Chandler. A paragraph from > > the couple of pages we managed to write on it before giving up will > > give you some idea: > > > > "Thor Hansen's a Dane." said Nate. "He's Stateside to see his sister, > > Adrienne - she's in Detroit. She hasn't heard that he's here. That he > > is... raises the ante. He ain't no saint - a rat's nearer - and he's > > a threat. He's hated here, and Detroit's one hornet's nest he doesn't > > need to stir. Adrienne has no idea. And she's inside, too, so there's > > no sense in distressin' her." Just watched 'The Blue Dahlia' on daytime TV, scripted by RC - obviously he is keen on L, which isn't in the above list, which I find surprising. I was slightly baffled by the American pronunciation of dahlia, which came out as 'dallier' rather than 'more daily' which is the way I'm used to saying it. Presumably Mr (or Ms?) Dahl was Norwegian, like Roald, so it should probably be 'darlier'. Any fax'n'info? - - Mike Godwin n.p. "Comin' Home" - Mel Torme (how do you get the acutes to work on this thing?) PS I have a feeling that the printers' fonts used to have ETAION SHRDLU as the first 2 lines - any relation to those most commonly used letters? If so, "L" only just missed it by one letter! ------------------------------ Date: Tue, 25 Oct 2005 18:33:33 +0200 From: Sebastian Hagedorn Subject: Re: fegmaniax-digest V14 #249 - -- Michael R Godwin is rumored to have mumbled on 25. Oktober 2005 16:59:57 +0100 regarding Re: fegmaniax-digest V14 #249: > n.p. "Comin' Home" - Mel Torme (how do you get the acutes to work on this > thing?) You don't, because "demime" is a piece of crap ... I've patched our version, but on smoe.org it does what it does by default - it replaces the MIME header with this: TEXT/PLAIN; charset=US-ASCII So accented characters etc. are out ... - -- Sebastian Hagedorn Ehrenfeldg|rtel 156, 50823 Kvln, Germany http://www.spinfo.uni-koeln.de/~hgd/ "Being just contaminates the void" - Robyn Hitchcock ------------------------------ Date: Tue, 25 Oct 2005 10:44:11 -0700 From: Tom Clark Subject: Re: SPAM subject-line i just misread On Oct 25, 2005, at 9:07 AM, Hurricane Jesus wrote: > "stronger, more powerful climaxes", which i initially read as, > "stranger, > more powerful climaxes". > Reminds me of a warning I once saw for a prostate medication - "May experience unusual ejaculation." I think that phrase accounts for 80% of men. - -tc ------------------------------ Date: Tue, 25 Oct 2005 18:37:57 +0100 (BST) From: Michael R Godwin Subject: Re: fegmaniax-digest V14 #249 Thanks, Sebastian! - Mike n.p. Billy Fury - I'll never find another you On Tue, 25 Oct 2005, Sebastian Hagedorn wrote: > -- Michael R Godwin is rumored to have mumbled on > 25. Oktober 2005 16:59:57 +0100 regarding Re: fegmaniax-digest V14 #249: > > > n.p. "Comin' Home" - Mel Torme (how do you get the acutes to work on this > > thing?) > > You don't, because "demime" is a piece of crap ... I've patched our > version, but on smoe.org it does what it does by default - it replaces the > MIME header with this: > > TEXT/PLAIN; charset=US-ASCII > > So accented characters etc. are out ... > -- > Sebastian Hagedorn > Ehrenfeldg|rtel 156, 50823 Kvln, Germany > http://www.spinfo.uni-koeln.de/~hgd/ > > "Being just contaminates the void" - Robyn Hitchcock ------------------------------ Date: Tue, 25 Oct 2005 19:19:00 +0100 From: "Ashley Norris" Subject: Re: Hitchcock@Dylan Tribute 26/09/05 Hi if you could mention this on your list I'd be very grateful It's a review of Trains on the new Great Lost Pop Album website Popjunkie (www.popjunkie.tv) the link to the album is http://www.popjunkie.tv/2005/10/the_best_album__1.html thanks Ashley > thanks to adam for forwarding this along (i've been bad about fegmania.org > for the past few months -- hopefully that will be rectified shortly!) > > ----- Forwarded message from Leonard Adam ----- > > From: Leonard Adam > To: "'wojizzle forizzle'" > Subject: Hitchcock@Dylan Tribute 26/09/05 > Date: Thu, 29 Sep 2005 08:36:29 +0100 > > Don't see any mention of this by Le Feggers, so: > > "Clad in purple trousers and a yellow patterned shirt, the former Soft Boy > Hitchcock has two giant songs to fill - "Visions of Johanna" and "Not Dark > Yet" - and he pulls it off with a with a powerfully focused performance > and > some skeletal, brooding instrumental support from John Paul Jones". > http://enjoyment.independent.co.uk/music/reviews/article315621.ece > > Edited highlights of the show are being broadcast on (British) TV tomorrow > night: > http://www.bbc.co.uk/bbcfour/music/bobdylan/talking-bob-dylan.shtml > > There's a few words from Robyn here too: > http://www.bbc.co.uk/bbcfour/music/bobdylan/favourites.shtml > > Best, > +A > > ----- End forwarded message ----- ------------------------------ Date: Tue, 25 Oct 2005 14:46:52 -0500 From: Jeff Norman Subject: regional lyrical explication For the Brits among us: - ---------- Forwarded message ---------- > > I just heard "Making Plans For Nigel" on the radio, and for the past > > 25 years, whenever I've heard that song, I've wondered about the > > lyrics: > > > > We're only making plans for Nigel > > He has his future in a British steel > > > > What on earth does that mean? "A British steel"? Is that a plant where > > they make steel? > > I always heard it as "He has future in-a British steel", where the "a" is an extra nonsense syllable on "in", in order to make the line scan properly. Is the phrasing "a British Steel" meaningful, or is it just a Mark E. Smith-uh like moment-uh? I assume, also, that "Steel" should be capped, as a ref to the actual corporation of that name (not just generic "British steel")... - -- ...Jeff Norman The Architectural Dance Society http://spanghew.blogspot.com ------------------------------ Date: Tue, 25 Oct 2005 14:37:24 -0700 From: Eb Subject: Everything but good music Well, I was really looking forward to seeing Tortoise on Saturday night. Another of the top bands I've never seen perform, though I've only been a fan for two or three years. (I was a bit late catching the Tortoise train, which is appropriate considering what happened on Saturday.) The show was at the "Avalon," which until recent times was the legendary "Palace." Why they would change a name with so much history and marquee value, I'll never know. This was my first trip ever to the "Avalon" -- I've rarely had motivation to go to the Palace *or* the Avalon in recent years. Seems like a lot of the good shows which would have been at the Palace/Avalon in past times have moved southwest to the El Rey Theater. (Speaking of the El Rey, *Negativland* were there last night and, boy, I'd be curious to read an account of that gig.) Tortoise was playing with Daniel Lanois, and the way the concert was billed ("Daniel Lanois & Tortoise," rather than the names on separate lines) made me suspect Tortoise would serve as Lanois' backing band too. I've heard a couple of Lanois albums and had no interest in seeing him, but seeing Tortoise for *two* sets seemed like a nice bonus. The ticket said 8pm, and I know from experience that the Palace/ Avalon isn't kidding about its announced showtimes. Especially on the weekend, when the place likes to double-book separate-admission danceclub nights to follow the live bands. I guess I shouldn't have run that evening, but I've been trying to recover from a pulled hamstring all month and have been skipping too many days as is. Between the run and the following grooming/ "cool down," I didn't get out the door until a few minutes after 7. Cutting it too close but, hey, it's only about a 40-minute drive on a good night. However, I was regretting that I would require a drive-thru stop on the way to grab dinner. I debated trying to go without it. Well, traffic was much worse than I expected. I'm used to traffic thickening once the freeway gets near downtown L.A. but, tonight, the traffic was thick-ish from practically the moment I entered the freeway back in the O.C. And the Jack in the Box detour chewed up a little more time, even though I just ate while driving. About halfway to L.A., another delightful development occurred. I was driving about 50 feet behind a large, dark SUV (I noticed it earlier, because I'm always amused to see other people's DVDs playing inside their cars) when, all of a sudden, another smaller SUV-type creature on the left tried to abruptly change lanes between the SUV and me. Probably trying to switch two lanes at once. But it misjudged the relative speed of the other vehicle and...POW...smacked right into the other car's back end, directly in front of me. There was no smoke, but all kinds of trivial bits of plastic and metal from the reckless driver's grill fluttered in the air toward me. I braked (not especially hard, because I luckily was following at a safe distance), and crossed my fingers that I wouldn't run over anything sharp. And here's the kicker: After the collision, the nut simply changed lanes further to the right, and zooooomed toward the next off-ramp. Hit and run! The first car (which had no visible damage, from my vantage point) then changed lanes, and set off to pursue him. I fear the cretin had too much of a headstart though, and the grim, fortysomething woman I spotted in the SUV's driver's seat didn't exactly look like a hot-rodder. Traffic continued, and I whimpered at the passing minutes. I finally was able to leave the freeway, only to hit the dismal snarl of a Saturday night in Hollywood. The street traffic was much, much worse. And the Avalon (near Hollywood & Vine, of course) is in the heart of the tourism block. I hate paying to park (especially when the lot adjacent to the Avalon charges a mere $25), so I drove around and ended up parking quite a distance away (http://maps.yahoo.com/ dd_result?newaddr=W+Sunset+Blvd+At+N+Highland+Ave&taddr=1735+Vine +Street&csz=Los+Angeles%2C+CA&country=us&tcsz=Los+Angeles%2C +CA&tcountry=us). Looks like my running was not over for the night, after all. So...I got out and started jogging over to the Avalon, wearing long pants and clunky suede shoes. Dodging bag-carrying sidewalkers, right and left. It was threatening to rain but didn't. I finally arrived at the Avalon around 9pm (!), only to hear Tortoise playing inside. My fears were confirmed. No unbilled opening act, and a punctual starting time. I grabbed my ticket, darted inside and gamely tried to enjoy what was left of their set. Well, I didn't have to try for long -- the set ended six minutes later. SIX MINUTES! I sadly found myself thinking about other classic blown concerts: missing Wild Man Fischer due to a doorman giving me an incorrect set time, arriving during the last song by Robert Fripp & the League of Crafty Guitarists years ago, shows which I skipped altogether, only to have the act die or split up before I had another chance.... Damn it. And I was really excited about this show, too. Who knew a 40- minute trip would take two hours instead? Between bands, I investigated the new "Avalon" floorplan and was very surprised to find that the second-floor bar is now walled off as an entirely separate club ("The Spider Club," as a security guy informed me). There is also more standing room in the balcony -- some blocks of seats have been replaced with small railed platforms - and a bar and dual ramp on the main floor have been removed, which allows room for some extra booths and a deluxe soundboard area. The night's (sort of) good news was that, indeed, Tortoise then re- appeared as Daniel Lanois' backing band. Lanois came out and explained that they had done some studio work together and were "celebrating" this collaboration onstage. It would be not be his last explanation of the night. No sir. The good news is that a sizeable chunk of the following set (two thirds?) was instrumental. The bad news is that those instrumentals were more in Lanois' style than Tortoise's. Folk, blues, Tex-Mex, Native American, New Orleans...you know, "the roots." The short snatch of Tortoise which I caught was surprisingly close to straight- on prog, but Lanois made much lighter demands on the group. A few pieces attempted sort of a skronky buildup a la Sonic Youth and Yo La Tengo, but Lanois isn't an interesting guitarist at all. Whatever intrigue his guitar supplied was mostly due to his tone (he *is* a famous producer, after all), and his vaporous sound just made me wish Bill Frisell was onstage instead. Meanwhile, his songwriting is generic swill. All about self-conscious minimalism, used as a cheap shortcut to being "haunting." Like Paul Simon songs with all the meat stripped off, leaving just the head, fins and spine. Even worse, Lanois is one of those twaddlers who feels the need to *introduce* every song and tell you, you know, like why he wrote it and stuff. Its "inspiration." Oooh. One preface especially drove me nuts, where he claimed a forthcoming instrumental was designed to portray "the world we live in," or some such banality. And how, accordingly, the song had a really simple, pretty melody line, but clashed this against some darker, sinister undercurrents which Tortoise would supply. And then the piece starts and, well, it's just any old instrumental with no striking contrast between parts at all. Good grief. I would have been out the door by now, if Tortoise wasn't still onstage. Though it was often *subsets* of Tortoise, I must clarify. Three players here, two players here...the permutation changed from song to song. But here's the catch: The audience seemed to love Lanois. I can't imagine Lanois has sold a heap of records as a solo act, but this was definitely a Lanois crowd more than a Tortoise one. Numerous people yelled out requests from Lanois' thin catalog, and everyone cheered when he began any of his known album tracks. Phooey. Still, I must observe that the biggest hit of the night was not Lanois *or* Tortoise, but some sexy Argentinian salsa dancer who wriggled her hips and arms during one extended instrumental. She was formally costumed in a Vegas-like style (shiny black hair, stage makeup, a sequined black bikini under a gauzy pullover) so she couldn't have been a mere walk-on, but Lanois' prologue suggested that maybe she had met the musicians that day and asked if she could "try something" at the show later. She was a smash. The show ended around 11pm and, sure enough, a throng of cheesy danceclub types were huddled in queues outside the theater when I left. It was sub-drizzling outside, and downtown Hollywood sidewalks have a strange, smooth tile which turns very slick when wet (the same tile which encloses the "Walk of Fame" stars). Running was no longer possible. I had to walk back to my car, though I ended up taking an extra jaunt down Hollywood Boulevard for awhile, just observing the craziness. I saw a fake "Elvis" and "Marilyn Monroe" posing for pictures with tourists outside Mann's Chinese Theater, which made me laugh because I saw a news story just a few nights ago about how one such "performer" was arrested for peddling himself too aggressively. And how the city may start monitoring these people more closely. Goodbye, Norma Jean.... Eb ------------------------------ Date: Tue, 25 Oct 2005 11:31:37 -0700 From: "noe shalev" Subject: storefront LP Off off (is that an on?) topic The mrs. has nagging me to find her the written text of storefronts spoken piece at the end of glass hotel track, the one with the minotaurs, (wraped out with guffer flying down liecster square - u know) and appart from this, I haven't been posting for a long time but I'm sure you can feel I still lurk around, watching you closely. any link or the actual text would be wellcome. Grazie Noe

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Unlimited Email Storage – POP3 – Calendar – SMS – Translator – Much More! ------------------------------ Date: Tue, 25 Oct 2005 21:46:10 -0400 From: "Stewart C. Russell" Subject: Re: regional lyrical explication Jeff Norman wrote: > > Is the phrasing "a British Steel" meaningful, or is it just a Mark E. > Smith-uh like moment-uh? I'd put it down as a near-Smith. > I assume, also, that "Steel" should be capped, as a ref to the actual > corporation of that name (not just generic "British steel")... Yup. British Steel was a huge nationalised employer back then, but it was beginning to show signs of cracking. So "a future in British Steel" would only have been seen by desperately out-of-touch parents. ------------------------------ Date: Tue, 25 Oct 2005 22:19:56 -0400 From: FSThomas Subject: Why would anybody live here ... Just driving home from dinner down in College Park and caught a bit of unknown (to me at least) Robyn on Album 88. /Why Would Anybody Live Here/ off the Sadie's rekkid /Favourite Colours/ was the second song or so played on the country show "Cow Tipper's Delight". A very nice song, to boot. - -ferris. ------------------------------ Date: Tue, 25 Oct 2005 21:30:08 -0700 (PDT) From: Capuchin Subject: Re: storefront LP On Tue, 25 Oct 2005, noe shalev wrote: > Off off (is that an on?) topic I hardly think this is off-topic, Noe. > The mrs. has nagging me to find her the written text of storefronts > spoken piece at the end of glass hotel track, the one with the > minotaurs, (wraped out with guffer flying down liecster square - u know) > > and appart from this, I haven't been posting for a long time but I'm > sure you can feel I still lurk around, watching you closely. > > any link or the actual text would be wellcome. Here's my best pass: Ah, yeah... when you extinguish the candle, then you have to pay the penalty and the penalty is that you're taken... you're transported from here by two minotaurs (which you know are human up to the neck and then they have bull heads -- they have real bull heads, they're not just wearing bull head masks, they actually become bull from the neck up). A nd, uh, the minotaurs, um, they have a lot of duck tape and they swaddle you in it (or Gaffer tape if you're watching in England). And you're swaddled in duck tape and you're carried away by the two minotaurs down an endless series of ducts. And then you're, um, pinpointed just above about 2,723 feet above sea level. And you're fired out over central London. And then you come down -- it's the reverse of normal gravity, so you actually get slower as you go down so that you run out of momentum about 8 feet above Leicester Square. And everybody thinks that you're a bomb, a thermonuclear device, 'cause we've always been brought up in a folk stories in Britain that the bomb would detonate above ground to achieve maximum devastation. So as they see this thing (which is you swaddled in duck tape) coming down over central London people begin to flee. And there's enormous traffic congestion; especially on the A4, but also on some of the other main routes and like the beginning of the A1 and, um, whatever it's called, Highbury Corner. And all that stuff, it gets more and more cluttered. And people are fleeing and they're starting to tread on each other in their panic. And they're spilling cups of honey. And they're knocking over theodolytes and, uh, retort stands and, um, trivets and all those sort of things. And a lot of people are blundering through ancient chemical apparatus. And there's stuff... the people of have got hundreds of... there are people with slides; slides of tissue with things like corroded lungs. And they're spilling it in their panic and they're saying, "Just one more cup of coffee, Ms. Patterson." And then it's getting spilt as well. And they're getting more and more disturbed. And rubber tires which have never seen teh outside of a wheel (they're just cosmetic), they come smashing through the venetian blinds and they knock over the paper cups and they hit the files and... and the computers all go blank and the big... the build... the buildings begin to shake. And they realize there's something wrong Underground. So they have a strike Underground. And hundreds of passengers are trapped Underground. As you get closer and closer to the surface and then just eight feet above Leicester Square, you stop. J. - -- _______________________________________________ Capuchin capuchin@bitmine.net Jeme A Brelin _______________________________________________ ------------------------------ End of fegmaniax-digest V14 #250 ********************************